EKSKLUZYWNA EDYCJA KOLEKCJONERSKA na rynek azjatycki.

Gdy Herbert von Karajan zasypia za kierownicą - zawsze włączał to nagranie... Anne-Sophie Mutter's fiery and moving interpretation of the "unplayable" Tchaikovsky Violin Concerto is worth a listen, even if Herbert von Karajan inexplicably fails to do her and the piece justice. Oh, my. At first I thought I was merely hearing things. And then I listened again, and again, and sadly confirmed that the embarrassing mistakes and temporal oddities were really there. The German violinist, Anne-Sophie Mutter, only one of today's fantastic performers, is not to blame, though. I love her thrilling, passionate and colorful interpretation of the Tchaikovsky Violin Concerto here. I much prefer her warmer yet no less technically proficient playing over that of even the legendary Jascha Heifetz. Those kind few who are familiar with my previous writings on classical music know that a deep passion emerging from the music is what I seek above all. But it is the great Herbert von Karajan who, I'm afraid, has gone beyond what is acceptable in terms of missteps here. Wake Up, M. Karajan, Wake Up! This is a live performance by Mutter on violin, with Herbert von Karajan directing the Wiener Philharmoniker (Vienna Philharmonic), recorded on 15 August 1988, and released under the normally outstanding Deutsche Grammophon label. But it couldn't be less lively, as far as the orchestra is concerned. First of all, there is the somewhat insipid, unenthusiastic tone of the orchestra here, especially in the slower sections. In the first movement, for instance, the orchestra seems to be sleepwalking, particularly about seven-and-a-half minutes in. Karajan inexplicably drags his feet here, and doesn't seem able to rouse the Philharmoniker out of their stupor in many places, even in subsequent movements. This annoying flaw stands out even more because of the contrasting excitement generated by Mutter and her violin. And then there are also a few places where the strings and horns are distinctively off-key, which really gets my goat. I don't know...was it the phase of the moon at the time? The pull of the tides?... that caused such somnolence and ill-tunings on the part of the Vienna Philharmonic? The second movement suffers from a similar weakness, entering with a colorless playing by the horn section. Mutter also begins in a bit too muted fashion for me, and is almost imperceptively a tad off-key at first, but quickly proceeds to slay you with her fluid, moving sound shortly afterwards. The rest of the piece is more tolerable, even, occasionally, inspired. Those subtle and glaring negative features aside, I would still recommend this disc for the glorious experience of listening to the terrific Mutter. I've only recently become acquainted with her recordings, and have easily succumbed to her magical playing. https://www.angelfire.com/wv2/pathgirl/tchaikovskyviolin.html